lundi 25 septembre 2017

Source Hindustan Times by Shefalee Vasudev
Currently, there is a visible inflection point in India’s design journey. A contemporary awakening of sorts surrounds us through travelling shows, seminars, crafts tours, handloom melas, ministry and media engagements. Many more people now know about tribal and folk art, the hand-made aesthetic in textile and the dilemmas of the country’s heritage legacy. A movement summed up rather succinctly by Bhopal-based Gond artist Bhajju Shyam: “Five years back we were called craftsmen. Today we are known as contemporary artists.”
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Publié par
Herve Perdriolle

dimanche 24 septembre 2017

Source The Hindu
In 1949 China had only 25 museums. It targeted to create 3,500 museums by 2015 and achieved it some three years in advance of the target date. Strategically developing the cultural and creative industry (CCI) has been an integral part of China’s 12th five-year plan. India should make the most of its glorious past for a better future. Steps such as patenting valuable cultural objects, giving tax benefits to craftspersons, introducing culture as a subject in curricula, structuring funding through public-private partnership models would accelerate the process.
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Source Bangalore Mirror by Sowmya Rajaram
By that, he means if a large entity such as the Government of Karnataka makes Chittara the official state typeface of Karnataka and uses it for tourism, railway station signage etc, it will bring more attention to the artform, the community and enable more people to work with these communities directly. “Additionally, the sales of the typeface would increase enabling us to give back to the community,” he says. This, because funds raised from the sale of typefaces is first used to cover all costs and initiate similar new projects with other tribal and craft artists groups.
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Publié par
Herve Perdriolle

dimanche 17 septembre 2017

Source The Wire by Chitra Padmanabhan
The same reasoning applies to contemporary expressions of art as well. Present-day artists are not representing a religious symbol or icon in the traditional sense; theirs is an artistic expression. Why should it be restricted by traditional canons? It would not be art then. In the present-day context a religious icon too can become a symbol. The number of contemporary artists who have subjected Ganesha and various goddesses to the rules of Cubism and other artistic movements, not the Agamas’ canonical prescriptions, is legion. They are seen as good luck images in households, to be placed along with a laughing Buddha, no more.
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Source India New England
For the exhibition called “Bharti Kher: Sketchbooks and Diaries,” Kher has installed a series of drawings taken from her 42cm x 30cm sketchbook as well as notebooks, writings, and reflections created during her month-long residency in 2013. Featured are 11 framed drawings and one framed mixed media work on paper as well as four unframed drawings, various notebooks, and photographs presented in a long case. “Kher seems to have had just the right amount of affection and irony for the objects she was looking at in the galleries,” said Pieranna Cavalchini, the Tom and Lisa Blumenthal Curator of Contemporary Art who directs the Artist-in-Residency Program. “The drawings are very tactile and often provocative. They are charged with humor and a capriciousness that is smart and mischievous at the same time.”
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Source Millennium Post by Uma Nair
Saffronart's September Sale of India's modern masters in New Delhi on September 21, is the stuff of distinctive works of rarity, provenance and the power of contemporary character. First launched in September 2014, by Dinesh Vazirani, Saffronart's Evening Sale is not just the highlight of their annual auction calendar but it has carved its own niche in the auction world for its ability to attract the most coveted and distinguished collectors spread across India as well as abroad. Commenting on the auction, CEO Hugo Weihe said, "The sale includes works of exceptional quality and rarity, which offer new possibilities for reflection and dialogue. Consider the juxtaposition of the magical blue Gaitonde with a hazy blue mountain landscape by Roerich, the sea by Padamsee, or of a peninsula by Khakhar. Many works are of unique historical significance, and are milestone achievements for the artists."
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Publié par
Herve Perdriolle

vendredi 15 septembre 2017

Source Livemint by Elizabeth Kuruvilla
A revival of private investment has been elusive and after the shock November invalidation of high-value banknotes, economic growth has slowed for two consecutive quarters, to a three-year low of 5.7% in the quarter ended June. That hasn’t deterred serious buyers of Indian art, judging from data compiled by Artery India, an art market research firm. Forty-seven Indian artists achieved new world records in prices paid for their works in the secondary art market between March 2016 and August 2017; 27 of those records were set in the post-demonetization period. Payments in the secondary market are made in cheques, so demonetization did not have any impact, corroborated Hugo Weihe, CEO of Saffronart. In the primary art market, greater caution was practised. This was felt at the India Art Fair, which took place in January, said Amal Allana, director of Art Heritage gallery in New Delhi. “In general, demonetization slowed down the art economy. There’s no real sense of recovery still,” she said.
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Publié par
Herve Perdriolle

jeudi 14 septembre 2017

Source MoneyControl by Tasmayee Laha Roy
Amongst the Modern artists within the Artery India Artist tracker, there were only 23 female artists against 153 male artists. The uptick is visible within the numbers in the contemporary section featuring artists including Bharti Kher, Anju Dodiya, Shilpa Gupta, Reena Saini-Kallat and Mithu Sen among others where the representation rises to 55 women artists as compared to 148 males. According to Vijaymohan, "The disparity between the gender representation is finally beginning to even out and a certain section of the market seems to be acting with prudence."
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Source MENSXP by Dessidre Fleming
“We essentially wanted to make art more democratic,” says Nauriyal. “We want people to look at public spaces as not being sterile, plain, or non-interactive structures; but something that could also initiate conversation and, in some form, inculcate a thought process which extends from painting beautiful things to painting deeper meanings via projects and spaces that have a deeply rooted social context.” St+Art, from its inception worked as an Indian platform for Indian artists to be exposed on a global stage which was definitely not happening before. It was to create an ecosystem around street art.
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Source Livemint by Tanuj Kumar
Given that the major private art galleries in India incline towards working with established artists, a venture like Mumbai Art Room has been a blessing for the burgeoning Indian art scene. Founded in 2011 as an exhibition space by American curator Susan Hapgood, it will now assume the new avatar of a ‘curatorial lab’, a space which aims to nurture emerging Indian and international curators with an interest in Indian art. The curators, nominated by a committee comprising leading academics and other curators, will be invited to submit proposals for the four annual exhibitions to be held in the lab.
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Publié par
Herve Perdriolle

lundi 11 septembre 2017

Source The Indian Express by Vandana Kalra
The oldest nation is barely a few hundred years old and borders run through societies that are similar, where people even today, have families on its two sides, who speak the same language and share several old links. There is No Border Here (2006) is a set of printed tapes which are otherwise used to cordon and measure. The bottles of simulated blood in Blame (2001) or Tree Drawings (2013), look at the tension between man-made demarcations and nature. The act of naming and memory play has been part of my early works from the ’90s. I have always been interested in the ambitious exercises and the surety with which we are constantly inclined to classify ourselves and the absurdities and dangers that follow.
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Publié par
Herve Perdriolle

samedi 9 septembre 2017

Source Livemint by Tanuj Kumar
Opposite the Mint office in Delhi, a black banyan tree stands embedded in white marble. Only, instead of a real tree, it is a mural on the façade of the British Council building, designed by the British artist Howard Hodgkin at the invitation of architect Charles Correa in 1992. Hodgkin, one of the pre-eminent contemporary British artists, died in March, and come October, Sotheby’s in London will auction his prolific personal art collection, a substantial part of which comprises eclectic Indian art.
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Publié par
Herve Perdriolle

vendredi 8 septembre 2017

Source Architectural Digest by Uma Nair
This time he combines astronomy and geophysics in a pair of intricately detailed sculptures titled ‘Covariance’ (Sacred Geometry) that from afar may resemble a rock/an anthill/a fallen meteorite/an ancient fossil. Look closely, and you’ll find pairs of finely carved, tiny eyes modelled on different species, from mammals and birds to reptiles and fish.
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Source The Hindu by Sravasti Datta
The third edition of Gender Bender questions narrow definitions of sexuality through performances and installations. Gender Bender 2017, a joint project between Sandbox Collective and Goethe-Institut/Max Mueller Bhavan, co-curated by The Ladies Finger, will be held on September 9 and 10 at Goethe-Insitut. The grantees speak about their works.
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Publié par
Herve Perdriolle

lundi 4 septembre 2017

Source The Indian Express by Pooja Pillai
Chandigarh’s furniture heritage is in a legal twilight zone, in fact, since it is now recognised by everyone — including the authorities — as being valuable, yet remains bereft of any actual protection under Indian law. Activist Ajay Jagga, an advocate, says he has approached various authorities on the matter, including Chandigarh High Court and the CBI. “I wrote to the Ministry of Culture that since this is a matter of national heritage, they must find some way of declaring these furniture to be ‘art treasures’. That would mean that they can’t be sold out of the country,” Jagga said.
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Source Mid-day by Benita Fernando
The birth of a new nation has been the subject of great art and great controversy. As the country completed 70 years of independence last month, the significance of the occasion has found a new commemoration through an exhibition curated by Dr Arshiya Lokhandwala. The title, India Re-worlded: Seventy Years of Investigating a Nation, should give audiences an indication about the theme of the exhibition, which spans 70 works, including 40 new commissions, by artists across generations. Lokhandwala, a curator and former gallerist, has retraced her doctoral thesis, on Postcolonial Palimpsests: Historicizing Biennales and Large-Scale Exhibitions in a Global Age, for this show. She refers to influential literary and postcolonial theorist, Gayatri Spivak. "Spivak revisited Martin Heidegger's original concept of "worlding" as a process of violence that emerges when territories get colonised by colonizers.
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Publié par
Herve Perdriolle

vendredi 1 septembre 2017

Source Hindustan Times by Nikhita Venugopal
The first thing you notice about G Ravinder Reddy’s sculptures are the eyes. Throughout his work across the decades, an unwavering stare can be seen in his figures — wide-eyed, bold and sensual. The second is a sense of familiarity. These aren’t mythical creatures. They’re the women who sell fish and vegetables. Students going to college. A woman on her way to work. When Reddy, 61, was a student in the early 1980s, he found that many of his contemporaries were influenced by European sculptors. It was a school of thought he didn’t wish to follow. “Why should we do something that we’re not familiar with and import from European masters?” he asked in an interview.
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Source The Indian Express by Pallavi Chattopadhyay
Six galleries from the Capital join hands for the first edition of Delhi Contemporary Art Weekend. The display has brought the collections of Exhibit 320, Gallery Espace, Nature Morte, Shrine Empire, Latitude 28 and Vadehra Art Gallery under one roof, and includes specially commissioned and recent artwork.
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This newsletter posted by Hervé Perdriolle in October 2007, tracks the news of the Indian Contemporary Art through an international press review regularly updated.Since 2008 more than 1.800 press articles listed - 145.000 pages viewed.